Vendel is a parish in the Swedish province of Uppland. The village overlooks a long inland stretch of water, Vendelsjön, near which the Vendel river has its confluence with the river Fyris. The church was established in 1310. Vendel is the site of an ancient royal estate, part of Uppsala öd, a network of royal estates meant to provide income for the medieval Swedish kings.
In 1881-1883 a series of excavations by Hjalmar Stolpe revealed 14 graves in and just beyond the south-east corner of Vendel churchyard. Several of the burials were contained in boats up to 9 metres long, and were richly furnished with assemblages of weapons (including fine swords), helmets, cauldrons and chains, beads, shields, tools, etc.
The helmets from Graves 1, 12 and 14 bear close comparison to the helmet from the early 7th century ship-burial at Sutton Hoo, Suffolk, England, with die-stamped plaques depicting scenes of warriors. The shield from Grave 12 at Vendel is also very comparable to the Sutton Hoo shield, and has a stamped metal strip mount which is actually die-linked to an equivalent piece at Sutton Hoo. The Vendel boats were identified by the presence of many ship-rivets, and accompanied by many animal sacrifices (mainly horses) within the burials. A later grave (Grave 3) contained an important set of bridle-mounts for a horse. These graves date between the later 6th to 8th centuries.
In Swedish prehistory, the Vendel era (550-793) is the name given to a part of the Germanic Iron Age (or, more generally, the Migration Period).
The migrations and the upheaval in Central Europe had lessened somewhat, and two power regions had appeared in Europe: the Merovingian kingdom and the Slavic princedoms in Eastern Europe and the Balkans. A third power, the Catholic Church, had begun to expand its influence.
In Scandinavia, the Germanic clan society was still very much alive. In Uppland in what today is the east-central part of Sweden, Old Uppsala was probably the centre of religious and political life. It had both a well-known sacred grove and great Royal Mounds.
There were lively contacts with Central Europe, and the Scandinavians continued to export iron, fur and slaves; in return they acquired art and innovations, such as the stirrup.
The finds in Vendel and Valsgärde show that Uppland was an important and powerful area consistent with the sagas' account of a Swedish kingdom. Some of the riches were probably acquired through the control of mining districts and the production of iron. The rulers had troops of mounted elite warriors with costly armour. Graves of mounted warriors have been found with stirrups[citation needed] and saddle ornaments of birds of prey in gilded bronze with encrusted garnets.
Kelly Joe Phelps (born October 5, 1959, Sumner, Washington, United States) is an American musician and songwriter. His music has been characterized as a mixture of delta blues and jazz.
Kelly Joe Phelps grew up in Sumner, Washington, a blue-collar and farming town. He learned country and folk songs, as well as drums and piano, from his father. He began playing guitar at age twelve.
Phelps concentrated on free jazz and took his cues from musicians like Ornette Coleman, Miles Davis, and John Coltrane. He spent 10 years playing jazz, mostly as a bass player. He refers to his "conversion" to a blues musician when he began listening to acoustic blues masters like Fred McDowell and Robert Pete Williams.
Initially gaining notice for his solo lapstyle slide guitar playing, which he played by laying the instrument flat and fretting it with a heavy steel bar, he has incorporated more ensemble work in his later albums. Inspired by the birth of his daughter Rachel in 1990, Phelps began writing songs. He began singing and released his critically praised debut, Lead Me On, in 1995. This album showcased Phelps' craft, and as well as his own songs, he tackled traditional numbers such as "Motherless Children" and "Fare Thee Well."
echo
my echo
first row
at our show
oh my, i am burnin' on sundays
this may
we're dismayed
warm x-rays
on our displays
oh my, i get warm in so many ways
because you're so adorable
and oh you're so wonderful
i think we're both so beautiful
and please, will you just catch me when i fall?
i forget my sadness
we finally let it pass
can't you clean these ashtrays
i get so warm when i burn on sundays
i get so warm when i burn on sundays
i get so warm when i burn on sundays
i get so warm that i'll burn on sunday
pixels running through your veins
i don't care cause pixels make
you something sweet and beautiful
trees are falling on my floor
this might trigger level four
don't want to struggle anymore
take your place in this world of mine
I'll create your perfect line
you don't want the fame
you want my adventure game
color's set to your bit rate
got your story on my plate
I've tried to push the darkest door
take your place in this world of mine
I'll create your perfect line
you don't like the name
you like my adventure game
i am sending all my spaceships
to kiss your super soft lips
that'll launch my afterburn
i am cruising on with lightspeed
to find a place where we meet
and we'll head for saturn
bury me in your planet
tonight
i want to make it right
3 2 1 liftoff-night
a starship 'prozac' ride.
i want to crash right in you
or walk with flashlights into
the cave of our first kiss
bury me in your planet
tonight
i want to make it right
3 2 1 liftoff-night
a starship 'prozac' ride.
in the beginning of my crusade
i didn't know you were just a fate.
now we're the raiders of our lost ark
searching for facts just because we love.
the truth is you what else can it be?
through the ozon of my heart
i feel the gravity
you've made a cosmic trip with your dart
we are in love, aren't we?
and all the fussy cosmonauts
they drive the moon-machine
so my heart will pull your polar star
you're my sun my moon my mars
you are my universe
do you mind if i explore it
with my thunderbirds
expedition 'then, i, elle'
will always be the first